Results for The Talking Heads

interviews

76Ray Padgett

Hosts Jim DeRogatis and Greg Kot talk to author Ray Padgett about his book, Cover Me: The Stories Behind the Greatest Cover Songs of All Time. They discuss what makes a good cover version of a song, as well as what makes a bad one. Plus, they dig into some notable rock covers that Ray mentions in the book. Then, Jim and Greg share a few of their favorite cover songs:

Greg

The Talking Heads, covering Al Green, "Take Me To The River"

The White Stripes, covering Dolly Parton, "Jolene"

Jim

specials

4121977 - The Year Punk Broke

In the second and final installment of our series 1977: The Year Punk Broke, Jim and Greg explore the punk movement stateside with music writer Ira Robbins. Ira founded the music magazine Trouser Press in 1974. As a music journalist in New York, he was a fixture of the CBGBs scene, regularly "taking [his] life in his hands" to go to second avenue and hear bands like the Ramones, the Dictators, the Dead Boys, and Television play divey clubs. Whereas punk enjoyed a rapid rise in the U.K. in 1977, Ira describes the New York scene as more of a slow simmer. Fans gradually migrated from clubs like Max's Kansas City, where glam acts like The New York Dolls ruled, to clubs like CBGBs where a younger, rawer set of performers was defining the punk look and sound. Though the Ramones, with their simple song structures and leather jackets became emblematic of New York punk, Ira remembers a diverse scene. The Dead Boys, Television, and The Talking Heads may not have sounded the same, but in economically-depressed 70s-era New York, they shared an attitude that "life sucked, it's probably not going to get better, but so what."

Jim and Greg each choose a favorite track from the New York scene. Greg goes with the Talking Heads' "Don't Worry About the Government" from the band's self-titled debut. More than any other band, the Talking Heads epitomized New York punk's diversity. Their first gig may have been opening for the Ramones, but Greg contends the band's sound was more dance than punk. Still, Byrne's narrator in this song - a stressed, neurotic government bureaucrat - taps into the anxiety of the punk era. Jims goes with the ultimate American punk anthem, Richard Hell's "Blank Generation." The story goes that U.K. punk impresario Malcolm McLaren saw Hell perform the song in the U.S., then returned home and advised The Sex Pistols to write something "just like it, but your own."

1051977–The Year Punk Broke Pt. 2

In the second and final installment of our series 1977: The Year Punk Broke, Jim and Greg explore the punk movement stateside with music writer Ira Robbins. Ira founded the music magazine Trouser Press in 1974 and was a fixture at the CBGBs scene. They discuss the U.S. punk scene in '77, and seeing bands like the Ramones, the Dictators, the Dead Boys, The Talking Heads and Television play divey clubs. They also talk about the differences between the groups' sounds and images, and what New York City was like in 1977.

Jim and Greg each choose a favorite track from the New York scene. Greg goes with the Talking Heads' "Don't Worry About the Government" from the band's self-titled debut. Jim goes with the ultimate American punk anthem, Richard Hell's "Blank Generation."

reviews

1306Paul Simon Surprise

Gnarls Barkley is not the only noteworthy collaboration discussed on this week's show — in fact, all of the albums up for review feature artists working with noteworthy producers. For example, singer/songwriterPaul Simon made the interesting decision to work with electronic music pioneer Brian Eno. Eno, who co-founded Roxy Music, has produced for David Bowie, The Talking Heads and U2. While this is an impressive résumé, Jim and Greg explain that Eno was still a surprising choice for Simon. Eno is infamous for dragging musicians out of their comfort zones, and Simon is certainly at a stage in his career where he could remain comfortable if he wanted. The result is literally a Surprise, though not necessarily a success, according to one of our hosts. Jim is fond of both the album's multi-layered, ambient sound and its complicated, occasionally self-deprecating lyrics. He gives it a Buy It. Greg, on the other hand, feels that this was a missed opportunity. He predicts that the two artists“tiptoed”around each other too much. It's a little too gentle, too sleepy, and too stagnant for Mr. Kot, who gives it a Burn It.

2886Spoon Ga Ga Ga Ga Ga

The final album up for review is Ga Ga Ga Ga Ga from Spoon. That's right: five Ga's. The title gives us a tip to the band's attitude. As Greg notes, it seems like they're“intentionally screwing with us.”Taking a cue from Wire and The Talking Heads, Spoon has always specialized in a minimalist sound that is heavy on the rhythms and keyboards, and easy on the frills. That sound continues on Ga Ga Ga Ga Ga, but Jim was pleasantly surprised to hear the band striking out by including a Stax/Motown sound. He's really excited about this album and gives it an enthusiastic Buy It. Greg agrees, adding that it's how the band uses different elements that makes the sound so special. Nothing lingers for too long, and nothing lacks that all important groove. He also gives Ga Ga Ga Ga Ga a Buy It.

dijs

3029Jim

“Life During Wartime”The Talking Heads

Jim gets to add a track to the Desert Island Jukebox this week, and he decided to pick a song from an art school band that got it right. The Talking Heads were the originators of this style, and their song "Life During Wartime," is one of the first times they incorporated African rhythms and instruments into their New Wave sound. There are layers of percussion and a funky bass line, but the lyrics also deserve to be highlighted. Many listeners probably know the song as a catchy pop track, but it's also got a heavy message about race riots and a society in trouble.